experimental sound

Adam Nash is a performance artist exploring 3-D multi-user virtual space as a live performance medium. He teaches multimedia at RMIT, Melbourne; and is a writer/reviewer for Digital Media World Magazine. (more…)

I was able to meet the artist Larissa Linnell, during the final stages of her site-specific installation.  Using a slide projector as a guide, she was completing a floor-to-ceiling pattern. Thousands of red and grey crayon dots of slightly differing shades were accumulating on the short wall at the far end of the space. (more…)

In March and April 2004 I travelled to Helsinki for PixelACHE 2004 DIY Electronic Arts Festival: Audiovisual Architecture. During the first weekend of the festival I caught the ferry to Stockholm with 15 artists and crew to present a solo exhibition and performance at Sauna Gallery, participated in artists’ talks at CRAC (Creative Room for Art and Computing) and attended audiovisual club nights at Metro Club and legendary experimental music venue Club Fylkingen. (more…)

The theme for Transmediale 04 was Fly Utopia—there is hope there is no hope. This offered interesting conceptual territory in terms of cultural theory and worried at the ongoing question as to the purpose and value of art, particularly digitally and electronically mediated art. Do the tools media artists use serve as formidable weapons in a techno-dystopic world, or do they allow us to escape into collective utopian imaginings? (more…)

Sound is a visceral substance inhabiting air, water and three dimensional space while driving the temporal domain. The concept of time-space is complex and open to stylistic and cultural variation. Sound art merges visual space, and time-space, in acoustic space. (more…)

Melbourne’s festival of sound art, Liquid Architecture, originated in 2000 at RMIT University, when RMIT’s Union Arts offered the ((tRansMIT)) student sound collective the chance to stage a festival promoting the talents of ((tRansMIT)) members. Since then, Liquid Architecture has grown to the point where it is now attracting top-line international guests, while still holding true to the promotion of local talent. (more…)

As an organisation supporting the development of new media arts practice in Australia, ANAT aims to support artists and practitioners across a wide spectrum of artforms. Increasingly ANAT promotes dialogue and practice across a variety of disciplines including visual arts, performance, dance, film, architecture, design, sound etc. – reflecting the shifting evolution of singular artforms and disciplines into more hybrid and multi-layered forms. (more…)

Somaya Langley is a sound and new media artist whose work has been presented in significant festivals and on air throughout Australia. (more…)

Always a difficult act to categorise, Severed Heads are perhaps best known for a handful of oblique dance hits in the 1980s and early ‘90s. (more…)

The theoretical writing about sound comes in many forms and covers many different contexts. The role of sound in film, arts, media and everyday life has been analysed using a wide range of techniques and approaches. (more…)

Music is fragmenting. Traditionally isolated musical elements are collapsing:  performance, composition, recording, and sampling are no longer mutually exclusive. (more…)

This article examines four artists who are currently influential in the Australian sound art and experimental music scenes. (more…)

A Sound Garden with a Japanese water harp (sui-kin-kutsu) has been installed in Brisbane’s Roma St Parkland, Queensland. (more…)

The Pythagorean term ‘Acousmatic’ refers to the apprehension of sound without relation to its source. (more…)

‘The Great Australian Silence’ was a cultural codification for the domination of Australia’s lands by British Imperialists in 1788. The term was coined in 1901, when the Bulletin editor A.G. Stephens used the expression to ‘codify an Australian myth’ that the Australian identity was born ‘in the silence of the bush’. (more…)